Building a portrait with layering watercolor - wet on dry watercolor tutorial | Agnes Bodor | Skillshare

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Building a portrait with layering watercolor - wet on dry watercolor tutorial

teacher avatar Agnes Bodor

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

6 Lessons (56m)
    • 1. Introduction and project description

    • 2. Tools and materials

    • 3. Starting to paint

    • 4. Adding second layer of paint

    • 5. Deepening the tonal values and developing the colors by layers

    • 6. Adding the final layers and finishing touches

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About This Class

Building a portrait with layering watercolor - wet on dry watercolor tutorial is a project where we will paint a portrait of a baby with layering watercolor. The basics of this technique is explained in details and has exercises in the previous lesson titled "Your wet on dry watercolor toolkit". If you are not familiar with the technique, please check it out. I hope it sounds interesting to see you at the class! Please, do not hesitate to ask questions or start a discussion on the discussion section, and post your result!

Meet Your Teacher

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Agnes Bodor


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1. Introduction and project description: Hi, my name is Agnes What art? And I am from Hungary. I moved to Seattle in 2007. And since then I live here and work in neurobiology. But to keep balance, I always adored to make art, especially painting. But also I made doing origami photography or whatever occupying my mind. My favorite technique was always watercolor and ink. I love to paint landscapes and portraits. But nowadays I mostly band together. And I paint cats. I wanna catch there FOR their beauty, their movement, not just copying Acosta all what are Alus they play. Also an eye, you water or ink I run. I use the potential of these materials that their own UT, I don't want to use Euler amphora. I went. And water color. I think soon be used very slowly, very three. Let us call it basis and even on paper. Because make good, is it water color? It's very, very important to understand the material and to be able to control. Because otherwise it won't work. And on my watercolor tutorial, this is a crack in my plan to make you understand this very complicated material to watercolors and be able to use its beauty. But be it. Hi everyone, thanks so much for choosing my tutorial today. In this tutorial, we will paint a baby face or if you wanted to lose another photo, probably another phase. And the aim of this tutorial to using the technique I explained in a previous lesson titled. Wet on dry watercolor kit or something like that. So this tutorial, we are build on those knowledge on that lesson, especially what I told in that lesson about layering. Main idea of this technique is to lead, lead to the previous layer dry. And in that previous lesson, I made several exercises like the balloons or this leaf painting by layering. If you go close to, for example, this still life, you will see that everything beer tap a bit, individual brushstroke layered on top of each other. And you only can see the brushstroke because he always had to wait until her previous layer dry and then he can add it the next layer. And this is how you can see all those brushstrokes there. I am also very big fun of layering and I use many, many times. For example, when I paint portraits. That's one of my go-to technique. And you can see in these examples. Here, I show you a much better water column watercolor portrait artist than me. Her name is Ali Cavatina. Ok, sorry for the premises and it's probably not. Right. And if you see closely, you can see that she use layering extremely extensively, especially on a face part. So look the eyebrow or look just the shading around the cheek and you will see it. It's not 100 percent, but very, very much about layering. It's very clean. Again, on a face, on a cheek especially but everywhere else. So that's what she was very well. But if you're not call males, she always or many times post on Instagram, for example, paintings in stages. And when you look at those stages, you can clearly see how it's build up by layers. As I want to teach you today. She always use very like neutral color layers or on a face. It's her style. You can go extremely bright, clean colors too. It's on you. You can even paint with one color, but then you won't learn about making colors by layering. And as you can see on this example, to layering give you values and also colloids. So it's important bought. So it's better to practice with, with colored, but it's a good method for monochrome. Here is even better, more interesting example because you can see four stages. When I saw these four stages, one thing is very upper end. She built the whole painting together. She not working on one spot and finishing it up and then going to another No. She put down a layer regarding the whole painting always. And then go to the next, for the next layer or so everywhere. So first start just very light and put the light tones everywhere. And then next dead, she build upon this and darken those first areas, which are usually the darkest spots on the painting and so on. So you start with the darkest areas, but you put it down light, and then you put the next layer and you dark in those areas with one layer which already done, and you adding new areas just with one layer and they stay lighter and so on until you build up 45 even 10 layers depend on your color values. If you tend to work with very dark colors, then you only have three layers, probably maximum. If you can really make light washes on each layers, you can build a lot. And of course, it's okay if you not only use layering, because what I'm trying to show here, It's painting organically. Not very, I don't want to, I want you to enjoy it, not just thinking about the techniques. So you will see I'm painting very fast and fresh and don't worry about if it's, if it's melting together or wasn't completely dry, just go on and do it and try to enjoy it. So this is the last picture is, is just the three stages of that painting we will do. And I just put it here because I want to show that each state is give you a complete kind of almost complete painting. So you can stop almost in any any given layer number, then you like it. So that's another thing I want to say. I probably I think have four session on this painting for a different layer. It's not like for everywhere, don't misunderstand me. It's just I fought times the weight for drying and start to add new layers. So but if yours is, you really like it after two or you want to add one more, that's fine. You need to stop when you like it and you feel that it's ready. So next, I will explain the tools and the materials you need for this tutorial. 2. Tools and materials: So first time sewing the paper I used, I used the long-term pressed is cold press watercolor paper in block size. I think it was 14 by 20 inches, but I only used one side of it so I didn't need it. The whole paper. The face was approximately live size. I think that this paper is excellent. So if you can buy this and you like to try new paper and you can afford it. That's, that work. Absolutely amazing for this tutorial, the layering is beautiful on it. It's dry. Pretty well. Not too long. So I really suggest that it's excellent. I've worked with this technique on many different paper in I had otherwise this paper as issues. But with this layering technique, the Stonehenge paper was amazing. And I think it's a cheaper paper. You have to compare prices because I bought many things years ago, so I don't know for sure. But the Stonehenge paper exactly the one on a photo, which is a cold press. Also was a block. Would ask them. Of course, Arches paper never disappoint if you can afford, that would work. Again, our sum, although Arches paper dry, slower, at least in my hand. So maybe you need to wait longer a little bit if you use that one. But no matter what, I really suggest, it's amazing. Kilimanjaro papers supposed to be cheaper. And it's pretty good for this because you don't need to wet the paper so crazily the tenor would work too. And at dinner is cheaper. So because here you only use the water control is very important so you won't soak the paper. In that regard, the tin one, we'll be fine. The ticker is just easier to work on. The fluid. Work really well. Again, for this tutorial, it's, it's, it's not a high, high quality water colored paper. It's a cellulose paper. It has many issue, but I used for many things. I love it. It's trickier to work on because things coming off faster and it's if it's too wet, it's wrinkling. But it will work. If you cannot afford more pricey and even the console acts out. Kim Berg. Of course, the cheaper paper it's. Quality obviously correlate. But for example, for the cat paintings I explained, you wouldn't be able to do on Canson XL because you need to solve the paper and this paper would just fall apart. But for this tutorial where you put them very light washes, the Canson XL would work to. Third, you will need several big voter ball for this layering technique. Clean water, clean paint, and clean brushes are very important. Keep everything very clean. Every time you pick up a light wash makes sure it's clean. So I suggest minimum two, maybe 34 or even more big water bowl around you. Transparent or white is better because you see when the water is dirty. Regarding brushes, I used very mainly two brushes, one bigger and one smaller. The big one was a flat wash from silver black velvet on what you can see on a photo. And for dinner, I think I used the same about size 8. But please don't alcohol Elliot or or pre-installed. Neptune would work perfectly. So one bigger It's okay if it's not a flat was you can have around wash at around 20, around 20 and around eight from any of these brushes is fine. Or any watercolor brushes just have one thicker 11. The newer one I found very useful. The flat wash. It's it's three-quarter inch flat. Was it brand have that too. So there are these round you will see when I paint, but the plain round, we'll work. This is a flat wash with around. It's not a square and back around. And so I also used a watercolor pencils to outline the fairs. And any brand Notre break call or brown. Any Notre color is fine. Regarding paint, please use any even student grade, but better if it's Act is great watercolor set you have at home. If you have six galore, you are fine. The more, the better I think any, any watercolor kit we'll work. If you have to buy paint or you want to buy paint. I really suggest to buy the Daniel Smith or NCAA paint if you can afford it. And I think bought but Danny, us miss for sure, have this dot card where you have all the 238 color. They they sell. And you can try every single one. And so this will help you to build your call archaic. If you buying by just 510 colors first. And this and this dot card. Because this dot CAD, and we'll help you to really tools that you need and it contains a lot of paint. So your campaign several painting just using this dot col and via you're using it and testing it out, you can decide what colors to buy to your color set. So, um, I don't wanna give suggestion by the colors. It's not just calories. It has quality labels on this dot card. You know how transplants are the colors, for example, this technique that transparent add the bass, the transparent colors. But I loved the granulating colors. I love all of them honestly. But you also can see how much they revamped, for example, after the dry. So for example, I'm suggesting to buying ones which revert easily because it's harder to work always taking out freshly from the tube. So you can learn a lot about each color. And also you can test it together. And then you just know what you like and what not. And other than that, you will need some kind of vibe. I'm using Kim Wipe, but that's probably one by and that's okay. But you need some kind of paper which is not falling apart from water. My experience with tissue paper is really bad. It's sticking on a wet watercolor paper and fall apart and toilet paper that though same, but probably kitchen paper, towel can work or any vibe you usually use. Many people use cloth. I don't have experience with. So that's what you need. And in the next section, we'll start to paint. 3. Starting to paint: So if you have everything ready, we can start to draw out the baby face. This is just a helper. Not about making a perfect baby face or not even making anything similar to the photo. It just an approximate line drawing. What is where on that face. And if it's not perfect, don't worry about this tutorial is for learning the layering technique and use the layering technique, what I call organically so very naturally. And to understand what you're doing and why the idea will be just the drawing. Just tell you reference points like the eye but not the details, just the line. Very, very simple. Same with the mouth and the nose, the bottom of the nose. Because imagine when you put down the layers, you always need to form that layers to a given shape. And you will know the shape based on this reference points. So you will know like it's next to the nose or below the nose, or above the eye, next to the eye. So you need these reference points. Although you can do totally without the drawing, you can have the scale, drawing scale then you find without this outline. And I made this tutorial. My idea was really, especially if you're not familiar with this technique, just concentrate on the layering part. It's already not easy. And this is a tutorial, so I, I prefer, or I suggest for you just make this tutorial about wanting. And in this case, it is the technique, the layering. So you need to be just aware when you put down a color, a little colored surface, which is a little layer, just the shape of that, the placement, the value, and the color. Every time you put down a new little layer. This is the fourth thing which you need to think through when I put it. What is the shape, what is the color, and what is the value? This tutorial is all about that. So you can see the drawing is quite simple. And I'm using those little parts like I nodes, Ear, Outline, and neck as a reference point just when I'm putting down a layer so I don't need to think about that. That's it. So when you have the paint in your brush, you already decided the color and the color value, how density is your paint. And now you look in your reference points, which are the drawing, and you decide the placement and the shape. And if you start with darker values, you can put as many layers. It's harder to correct. And it's easy to correct the lighter value just to add the darker value and change the shape. But it's harder when it's darker. So I suggest to start with lighter layers. Also. What I'm doing here, I'm working on everything together. So you can see I'm working pretty fast. And every time I add something, it's my painting still stay like almost like a lake. You can see the baby face. So it's not like you paint here and just one side and then you finish and then you go to the another side. No, it's not a good tactic here. Build everything together, the whole painting, even the background, everything together. So of course, there will be always the things which is a little bit more developed, but then you let that part, especially because it's need to be dry anyway for the next layer. And just go to the area which you didn't work on it for a while and it's dry already. And tried to build everything together. Always compare your previous layer or whatever you already have on your paper to the photo and check where you have to make modifications. Either color or YOU or shape of the, of the of the layer shape. Don't know how to say it. So each time you put down a layer it has a shape. So just let us call the shape for now. So you always think about that shape. And how dark is it, and what color. That's what you need to keep in mind. You can use another photo actually because another phase, it will be very adaptable, I think too, if you have a photo, you want to use VDD, good shading on it. So don't choose something with a full flesh on a face because that probably not the best example for layering, but something with one side, light liked it a lot and another side the nurse in darker because it's inner shadow. So that's what I suggest if you don't want to work with this photo. So you can see I did everything together, back, background, clothing, everything. With this technique very important to at least leave some kind of drying for the first layer is not a big deal if you paint two layers than the first one is not dry, but you can't do that all the time because then it won't be layering. It will be more like blending and stuff. So if you want to keep the layering technique, tried to use mainly that. So it won't be a 100 percent that but mainly so weight. Always for drying. And I have several parts in this baby face painting tutorial. I think for at least I really suggest to leave real breaks between the parts 10, 15 minutes. Because it will just help you to add new layers which is not blending into the previous one because the previous has timed them to dry up properly. So I suggest that I think I did it that way to Iowa. I waited many times and I many times not even enough to dry, just it dried almost everywhere but not everywhere. So and this is what I suggest to you. And you can see I'm still very developing everything in the same time. So almost it's like taking out a photo from the photos like from the eighties when you come out white, photos come out wide from the camera. Slowly started to appear. It's the same thing. So first the darkest spots appear, but in a light color. And as soon as you adding light colors to the lighter places, you need to dark and with the next layer, your darkest spots. So this is your working method. So you can see I almost painted every area now it's really hard to do anything, especially on a face without touching that area. So I'm have a break now and wait a little bit and I'm coming back after. 4. Adding second layer of paint: So it's not completely dry, but almost and I'm adding a new layer. So many times when layering Hubble's, I use my paper towel to lighten up layers. So when you add really dark washes like I'm doing now, even if the results would be as dark, I usually make them a little bit lighter because it gives me an ability for changing things. So it's not, it's not worth too to setup very dark values right away because it's, it gives you a limitation. Eventually, it will limit the women today. And you will see many times I'm using my paper towel and lighten them up. So this is the second set of layer. So again, I just started. So some places are extremely dark compared to others, but I'm trying to building everything together. So on the end of this, the throne, the second rod I will end up with, again with something altogether. Like not ready. I'm not saying it's ready, but altogether it's developed everywhere equally. So I won't have to extremely dark or extremely light areas. Although right now I have it because I didn't have time yet to go everywhere. And my aim is not to be exactly like the photo, but if I look the painting alone, the colors and the values, the whole system is fit together. So compared to the darkest point, the other values are build up everywhere. Right now if you found something really dark or too light, you can easily change bought. So too dark you can easily wash bag because it's not dry yet. Two, and of course you have to light areas because there'll be a link. So you always need time to read all the point of the painting. And don't worry about wipe off or, or, or wash back tanks. It's exactly the time when you have to change. On the way that you need to eliminate layers or colors or something to that. Just really use your paper towel or brush, loosen up the paint and wipe it off. Because as soon as it's drying, it will be much harder if not impossible. And also you can see I'm using the newer, new layer, the colors. To modifying the previous colors. You see I'm not using small brushes compared to the painting, so it's a pretty big flat wash brush. I'm thinking in areas big areas, big big surface as absolutely don't afraid from colloids, you can see I'm using very, very clean colors. Blue, red, orange, purple. Not, it's not pre-mixed skin color or anything. The layering is amazing because eventually always compared to what you want to read and you always modify by the next layer, the previous ones. So it's more beautiful if you, at least in my opinion, if you use just more clean color layers. Clean color, I mean, like brighter color layers because you building so it's mixing, but you're mixing by the layers. Not only are these. So again, I reached a point when things start to melt together. So that can be good or bad. It's depend on how you want to continue. If you adding new layers and everything melting together and it bothers you, wait. It's maybe you are not exactly on on the situation as me. So when you feel that you can't get anywhere because it's just too much leaky. You can't add proper layers because everything together then just wait a little bit, 510 minutes and you will have several dry surface. When you work. Tried to we tried to be very aware of your water control. So don't leave puddles the stride to just add exactly the right amount of pain, 10 at item and with the right amount of water. So you won't have problem with the drying. Good watercolor paper usually behave as some taking the water and this is a really good paper. It's long-term prestige. I absolutely adore this paper. Honestly, I love more than arch. It's just an amazing paper for everything. As you can see now I'm going back and forth between small and large brush brushes. Because now my, some of my layers that pretty tiny. So I need the smaller. I mean, it's not necessarily, you can do it with a good point, the big brands, but it just easier if you have a smaller brush, the water continental control is easier because smaller brush won't release as much water as the big one. So when you add smaller little surfaces, use the small one. And when you do larger due to the large one, because the small we'll run out. So your brush we run out from the color if it's too, if it's too small compared to the surface you want to cover. So just go back and forth between the brush as as, as, as the, as the size of your little layer require. I'm doing now very small little dots is especially because everything is pretty wet. So I'm getting close to the end of this segment. And I need to wait again a little bit for get some good level of dryness. So you see, I'm removing when I think something too dark YOU I'm not very about wiping. Hi, this is what I suggest to you. Just remove two lakh things because that's when you can. Also it will have been drying. But door remove dust for drying. But don't do it. Does the few need to lighten up things? It's not that I'm won't go to that dark values. I we'll eventually, but I would like to do it with more layers and more modifications. So I when it's too dark, I wipe it off. It will be darker actually, but with more layers and more chance for modification. So as I said, I everything start to Mad, especially looking at the head, the top of the head. So I need to wait if, if I want to continue with the layering technique, so I have a little break and then continue. 5. Deepening the tonal values and developing the colors by layers: Here I am back in starting to add the next round of layers. My painting is very close to DRI, not every sport is a 100 percent dry, but it's mainly dry. And I starting to build again. So whatever I'm doing right now, it will be a little bit weird at first, but then I build up the whole thing together again, and then it will be balanced again within the painting. If you like your painting any given state. I I strongly suggest to stop because there is no such a rule. How many times you have to add layers when you reach a point, when everything within a painting as well balanced, I mean, colors and values in you like the drawing alone and modify things. Just stop because there is no, there is no rule. How long you have to continue and if you wanna continue longer than I do, you can totally do it. Because this kind of layering technique, especially if you use very light washes, can be continued for a while. And actually that's a good thing. Of course, if you started with darker values, it's harder to build for a long time, but that's fine too. On that case, you can probably go over an area to 3 times when you use light washes, it can be buying more. I don't want to give a number but six definitely. If you use very light washes, but probably more. So. As you can see now I'm going with very bright colors again. But it, first of our watercolor lose a lot of brightness. And fortunately most of the colors when it's dry and also value so it will be lighter when it's dry. So don't worry too much. It will be a little bit lighter. Also. I tried to build up the whole thing, so even it wouldn't get lighter. I add this darker values everywhere. Again. If you do something you know, like Don't worry, to modify it, just wash it off. Of course it's much harder if it's an old layer. But old layer can be lightened up to, but the newer layer is, but you just dead. It's very easy to remove. Bid a good clean brush or a good paper towel. Of course, as you darken the parts of the face, you have to think about backgrounds and stuff too. So yeah, think about everything on, uh, on, on your painting. Again, because we are on a stage when we have many details, I suggest to use your brushes as you need. So when you need a larger area, it was larger and when you need a little more, smaller, little colored patches, more details, use a smaller one, it's just easier. So just based on what you need. As you can see, I'm using pretty bright color, bright pink, orange, dark red, blue, really bright orange. If, if the colors eventually build up a system where everything met up, it won't be a problem. It's only a problem. If things too bright compared to other things. It's like a photo. If you put your photo into Photoshop or whatever program, you can pull up saturation in very high or keep it very low and your, your photos still amazing. But if you just pull up saturation on given part, then it would be weird and it will have an extra meaning, what is saturated and whatnot. And here, because we're just painting this portrait with layering, we don't want that. Of course, if we are doing some kind of artwork where we want to express something that a tool. But this tutorial is not about that. So you can see how the head pope immediately as I add the darker background, it helps so much immediately. Everything just for back to gold again, like balanced. It's immediately, it's drastically changed the balance on a good direction, at least at what I think. As soon as I add the darker surroundings. Of course they have to finish up because it's a little bit look like a hair beard, hair brown here. This is what I'm saying. If something that match up with the host system, then it has an extra meaning like the brown on top of the head look like a punk here. My old teacher always taught that when you do a portrait, always what the portrait that if that person or in this case, it's this baby sitting front of you on a tramway. What, what would be weird about it? And then you immediately can start to see stuff like currently this we'll tear staff wider noses, so orange and so on. So it would have these questions, and that's the place where you have to make bombs, either make things brighter or remove the brightness on that. Given sport, and finish up the dark background to make sure it's not look like a hair. And so on. So I tried to watch a little bit like this too when you paint a portrait. Although I have to admit this is not about the portrait. So you don't need to worry too much about if it's not a good portrait. It's really the technique I'm trying to teach. Learning to draw very well. It's, it's a big deal. Not many people can do it and it's takes many years or a lifetime to do it. So you see I'm not shy to wipe. So this is what I suggest you use as a brush with a lighter color. In watercolor with real colors do cannot go lighter. You only can go darker or with. But if, if it's not dry yet, your little paper towel or your clean brush can be or light color. I like it to use and it's good if you built in your habit. It, It's a good tool. So now again, see just I have dark in one eye and it just We are live. This baby would sit on tramway from Tokyo. But we do think the other eyes missing or something damaged. But without adding this darkness, ed was just fine before. And now it's to sharpen too dark compared to the whole faith. So always look for this things and tried to build the whole thing. As a system. Always compare the, the one new working on the area you're working on to everything else. Sometimes you have to wait until the next round that you can touch everything because maybe the area you have to touch, it's just too wet. And when you add more colors to that too wet area, it's usually get diluted up in and not staying as the shape, not staying as you wanted. So if, especially if the shape is important, It's hard to do it on a wet surface because they are Paint way around because it's a watercolor. So it will run on a wet paper. So because of that, I am reaching again a point very soon when I have to stop a little bit and let it dry for depend on your paper two or how much area you painted. But I think at least than 15 minutes. It's really depend on your situation. So just restart when you have at least I don't know, like 80 percent of the paper dry. I mean the surface and 80 percent of the surface. So then you have enough area to to work. 6. Adding the final layers and finishing touches: So I am back and starting again. Now what is really weird then light is the on the, on the left side of the painting. So it's the right side of the baby on the lower part of the face. It's pretty light. Also if I dark in that area, the mouth, probably too light. So again, just think about the whole thing. Always. I really like to use squinting on my painting because then I don't see too much details, but I see the values. And that's helped to make decisions. And I just recognized that there is a big white area missing on the right side of the painting. So I just lightened up a little bit and overpaying there to correct the shoulder position. And if you again as the question, what is weird about the baby? It has a beard. Right now. I'm just trying to say these things because you can maybe get, get that thing to look. A portrait with this I, that what is weird about that person if you invent in that real person. Because if you look at it as a painting, it harder to see these kind of things. I think. Oh, I think I really needed that orange there. It's again, just put everything immediately in position, honestly. Sometimes just you change one thing and the whole balance, it's just normalized right away. I know I told this in other tutorials too, but I am telling again. So water colored verts like the painted colored glass. So every time you put down a layer, no matter what color is it, you always lose the brightness coming from your paper. The whiteness of the paper. So no matter how light is the color, the volume will be darker and darker every single time. And as I see my painting, water coral don't like if the paper white is completely covered like I don't know. It's like suffocate. It's just no light coming from the paper. And I'm kind of in many places reaching that point. So this will be my last layer because I cannot depend any longer given areas. And I feel now I have very, very light and very dark areas and I can't go in any direction more. So I cannot go whiter than paper, right? It cannot go darker as some places on the painting. So I just need to make sure everything between the very dark in a very light, balanced equally well and like in comparison. And I need to make sure given parts where I have Drawing issues are corrected in I'm done or I don't wanna continue because then overdoing watercolor is just so come on. I think. I, I know many people have this issue. Like you always think, oh, I do a little bit here and there. And then you can just overdo it and destroys something was pretty fresh and and grade before. So need to think about that too, not overdoing it. So I know I'm pretty much reaching the end point. So at that point you just take when you feel you are close to the end. If you're not, of course it's not for you, but then you just continue as the previous sessions. But if you feel that you want to finish, just take a lot of back and forth. Back and forth. Greek switches with your eyes between the photo and the painting. Or even just put next to each other, look it from a little disk dance, walk away from it for a few meters and watch it or squint on it on your painting. And you will see those little touches you need. But if you feel it's close to their day, remember, it's close to replace or not. You you definitely don't have too much thing left. Otherwise he wouldn't feel it's close to ready. So subtract 2, not going to go where you absolutely necessary need to 0. So until that point it was about the technique. Now spend few minutes on about the portrait project part. And before you finish. That's it, kinda, at least for me. I hope it was useful tutorial. I hope I was able to explain the technique. Please comment. Ask questions. Upload your result. I'm very curious and thank you for doing with me. I hope to see you in my next tutorial.